Myles Kennedy talks Alter Bridge, Slash, Led Zeppelin audition

Myles Kennedy

Myles Kennedy.. (Photo by Jeff Daly/Invision/AP)Jeff Daly/Invision/AP

If elite hard-rock musicians need an elite hard-rock singer, they often call Myles Kennedy.

In 2004, when guitarist Mark Tremonti, bassist Brian Marshall and drummer Scott Phillips of platinum-selling band Creed formed a new project, Kennedy got that gig. That turned into another successful band, Alter Bridge, that's musically and vocally superior to Creed. And just much more enjoyable to listen to. With Kennedy, Alter Bridge blossomed into one of rock's best commercially viable bands of the last 20 years.

In 2008, with Led Zeppelin guitarist Jimmy Page, bassist John Paul Jones and drummer/scion Jason Bonham frustrated by Zep singer Robert Plant declining additional shows following a one-off concert, Kennedy was brought in to jam. Although that project, which reportedly wouldn't have been called Led Zeppelin, didn't achieve liftoff, if Jimmy Page is interested in you being his singer, there's not much higher compliment for a rock vocalist. Just ask Plant, Paul Rodgers, David Coverdale and Chris Robinson. Yeah, those guys are pretty good.

In 2010, when Slash put together his first touring solo band, Kennedy got that gig. Kennedy had recently sung two songs - including album highlight "Starlight" - on the mononymous guitar lord's strong, self-titled debut solo LP.

Slash featuring Myles Kennedy & The Conspirators quickly became an exciting live act. And once Slash rejoined Guns N’ Roses in that legendary band’s ongoing, stadium-eating, semi-reunion tour, between GN’R tour legs, Conspirators gigs gave fans a chance to hear Slash in cozier confines. At GN’R’s 2012 Rock and Roll Hall of Fame induction, Kennedy stood in for Axl Rose on lead vox during the band’s live performance that night, after Rose declined to appear at the ceremony.

In advance of an Alter Bridge tour in support of the band’s dynamic top 20 sixth album “Walk the Sky,” Kennedy, also a talented guitarist, checked in via phone from his Spokane, Wash. home. Below are edited excerpts.

Alter Bridge

Alter Bridge. (Courtesy Dan Sturgess)

Myles, Alter Bridge will soon perform at a new venue here in Huntsville, Mars Music Hall, for the first time. What's a venue or two were you super-jazzed to play for the first time?

There have been a few. One that sticks out in particular is the Royal Albert Hall in London, which is a beautiful legendary venue and we played there a few years ago and it was a very symphonic experience, with a 30-piece orchestra. And it ended up being kind of the pinnacle of our live stuff thus far. It was a really fun couple of shows. Another one, and it’s been a long time, but it was with the Mayfield Four, my band from back in the ’90s, and we played a venue not too far from where I live called the Gorge Amphitheater. It’s one of the most beautiful venues in the world. Those are two that stick out.

Alter Bridge balances heavy guitar and grooves with vocal hooks and melodic sensibility. A song like "Wouldn’t You Rather" off the new record is a great example. A lot of times band from the last 20 years are one or the other, they're poppier but without much oomph or heavier without much melody. Why do you think both come naturally to you guys?

Oh, thank you. Yeah, I think to us that's kind of the most important part we've tried to utilize as writers, is making sure that we find a way to juxtapose the compelling riff with the compelling melody. And so as guys who grew up listening to a lot of riff based music but also The Beatles and Elton John and all these brilliant melodic writers, it's kind of in our DNA, using both aspects. So, it's nice to hear someone say what you just said, that's you're getting that when you listen to it, because it really is something we try to hone in on.

Speaking of guitars, have to ask you about the solo on (2007 Alter Bridge rock hit) "Blackbird," which is so cool. How did you and Mark put that solo together? Being here in The South, it reminds by of a hard-rock version of Dickey Betts and Duane Allman's dual-solo on the Allman Brothers track "Blue Sky."

That was one of the first tracks that I can remember where we decided to have both of us play a solo consecutively like that, and so it was something where we knew it was an important song so we both wanted to make sure the solos were up to snuff. And for me, at least where my head was, I wanted to try and have it be very melodic, very David Gilmour-ish, like "Comfortably Numb," because he's such a big influence to me. But then when it kicks into the next part then Mark takes over and adds more of the technical aspect of it, so it's a nice crescendo in that respect. But I think more than anything we weren't trying to overthink it. We just wanted to make sure the emotion was there, that's the most important part of any song.

The late great Jeff Buckley is one of your heroes. Last year you got to play Jeff's Telecaster, the first time that guitar's been played in public since Jeff's passing, covering his version of Leonard Cohen's song "Hallelujah," at an Alter Bridge show. Not to get too out there, but holding that Tele could you feel Jeff's presence? And what was notable about that guitar, is it heavy, light? Does it have a bunch of cigarette burns or dents in the neck?

That guitar is such an important instrument. So much magic was created on that, and I think anybody who has opportunity to hold it, you certainly feel that. Jeff, in my opinion, he was a genius, so you can kind of feel the mojo resonating off the wood. What's interesting is it's not some early '50s Fender for the collectors - it's a 1983 U.S. made Telecaster. And I remember back in the day when those came out it was just another Telecaster, but because of I think what has happened and how that guitar was utilized it's totally changed the gravity of the situation. [Laughs]

Part of the reason that guitar sounds the way it does is that one of the pickups is not the correct way a pickup is supposed to work. And I talked with Matt, the guy who owns the guitar, and he said it was kind of a mistake more or less but that's what makes it sound so cool. So it was that little flaw that helps give it the signature sound.

Jeff was truly gifted. It says a lot Jimmy Page and Robert Plant were big fans of his.

Yeah that says it all right there. [Laughs]

Speaking of Mr. Jimmy Page, I read when you rehearsed with Jimmy, John Paul Jones and Jason Bonham, you jammed on the Zeppelin tunes "Kashmir," "The Rain Song" and "No Quarter." To you, which sounded the best that day? Which was most thrilling to sing with them?

For me "The Rain Song" was a real special moment because that's probably my favorite Led Zeppelin song, and frankly I kind of had a hard time keeping it together. I'll never forget when it comes around and John Paul Jones start adding the descending line on the Mellotron, I felt myself really like having to hold back emotion. Because it was heavy. I will probably on my deathbed remember that as one of the top five moments of my musical life. It was really special.

Also read you and the Zep guys jammed on some new material. What was the vibe of that music?

It was cool and it was such as trip to hear ideas that had not been shared previously and kind of have the opportunity to throw your melodic concepts over the top of it. That was kind of right up there with getting to play "The Rain Song." It was something that I'll never ever, ever forget.

Jason Bonham was actually the person who reached out to you for that. You two had met working on the 2001 Mark Wahlberg movie "Rock Star." You have that key scene towards the film's end where Mark's character pulls you up on stage and you sing with his fictional band, Steel Dragon. What's a fun background tidbit from filming "Rock Star"?

One of the things that was interesting, when I first met Mark was when we were doing the rehearsals which took place probably three months before we actually shot the scenes. And I'll never forget Mark showed up and sat down next to me and we just started talking, and one of the things that stuck with me was he said, "You know, music's really my first love." And I thought that was really interesting. At that point he was starting to just blow up as an actor, but he expressed how much he loved music and that was really, I don't want to say something he really wanted to do, but he certainly had such a love and respect for. I thought that was cool.

One of the other things, a funny moment that sticks with me, and I think you can see it on the outtakes at the end of the film is, I can't remember if we were rehearing or shooting, but they would press play and they'd have the music. So essentially the band was like air-banding to the soundtrack in time and Mark would be singing and being his character. Well they switched it out, everybody knew it except Mark, and instead of playing a Steel Dragon song they played a Marky Mark and the Funky Bunch song. [Laughs] So that was pretty funny and everybody got a good chuckle out of it.

One of my favorite songs from your career is "Starlight," off the first Slash solo record. What inspired your lyrics and melody on that? Because it's beautiful and explodes in a graceful way.

Thank you, I’m glad you like that one. That’s one of my favorite tracks and it was really cool because Slash sent the music, the demo and just gave me free range and said, “Do what you want to do with the vocals and the lyrics and stuff.” And so, I remember I did a few different versions, I had like a weekend to work on it, so it just wasn’t working for me. I kept coming to that chorus and I’m not sure how that chorus should evolve melodically, and so what I decided to do is almost think of it like a gospel singer, like Mahalia Jackson and so I tried to almost hear how it would sound if she sang it and so that’s really where it came from. I guess there’s a gospel influence on it. And the lyric, it’s kind of ambiguous and it’s not too direct, but I think when I listen to or sing that lyric what I get it out of it, it’s a very optimistic song, it’s a hopeful song.

Is there something melodically you've taken from Slash's guitar playing to incorporate or inspire what you do as a vocalist, if that makes sense? Most of his GN'R classics, if you don't play the solos how he did, the songs just don't sound right.

Yeah, I think that's the thing with his guitar playing is he's so melodic but he's also got incredible technique, so he's got the best of both worlds./But what I like about his melodies is oftentimes the melodies are unpredictable but they still work. And I think that's something that has got me to rethink things. Oh, well if you tweak this note hear it adds a whole different texture and whole different flair, so try that with your vocal melody.

On a lot of Alter Bridge songs, there's a lot going on musically. A lot of zigging and zagging. Some great stuff, but if you got complicated with the vocal melody too, I'm not sure it works as well. Is it really just about keeping the vocal pure and simplifying melody? How do you find a place for the vocal melody amid all that?

Oh yeah, that what you want to do: You want to find a hook, something that's memorable, and I remember way early on as a young songwriter I don't think I had that figured out yet. You think, oh I've got to have the melody be something intricate and change a lot and keep people guessing. But then you realize after years of doing it is what works best is to just keep it simple and have it be repetitive so that people remember it. If you want to have experiment with a music a little bit and have the music be a little bit more complex and challenging, then fine - but make sure you have a melody over top of it that people can grab onto and sing along to.

Alter Bridge performs 7 p.m. Feb. 11 at Mars Music Hall, address 700 Monroe St., in Huntsville. Tickets are $36 advance and $41 day of show, plus applicable service charges, via VBC Box Office and More info at


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